ПРЕТВОРЕНИЕ ФОЛЬКЛОРНЫХ ЭЛЕМЕНТОВ В ФОРТЕПИАННЫХ ТРИО КОМПОЗИТОРОВ РЕСПУБЛИКИ МОЛДОВА НА РУБЕЖЕ XX-XXI ВЕКОВ
TREATMENT OF FOLKLORE ELEMENTS IN THE PIANO TRIOS BY MOLDOVAN COMPOSERS AT THE TURN OF 20TH AND 21ST CENTURIES

Summary/Abstract: This article is dedicated to the assimilation of folklore elements in trios for violin, cello and piano written by composers from the Republic of Moldova at the turn of the 20th and 21st centuries based on a brief analysis of three works: „Oglan" by D. Gagauz (1995), „I.N.O.2" by V. Rotaru (2004) and „Trio for violin, cello and piano” by O. Negruţa (2004). On the basis of the studied musical material, the author reveals the most representative features of folklore origin of the creations concerned: the principles of the monody applied in the correlation of the chamber ensemble parts, the use of the parlando-rubato rhythm, the melismatics, the involvement of the folklore genres features (doina, hora, cântec de lume etc.). It is important to emphasize that besides Moldovan folklore the composers address the folklore of other ethnic groups of the Republic of Moldova as an example serving the use of elements of the Gagauz folklore in „Oglan" or the Bulgarian in „I.N.O.2".

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